Posts Tagged ‘Bill Schenck’
Saturday, June 18, 2011, the doors at Factory Studios open at 6:30 p.m. sharp. Doors will close at 7:30 p.m. and Art+Cloth+Street kicks off. If you show after 7:30, you don’t get in. The show is a fundraiser for the Factory Studios and tickets are $75 for front row seats and a limited edition Teton Art Lab print & four drink/raffle tokens; $20 for standing room and one token. Tickets are on sale at Valley Bookstore, Shades Café and via Factory Studios.
An “evening of art and fashion,” the show features exciting new work from three of Jackson’s most creative emerging clothing designers, Abbie Miller, Calla Grimes, and Owen Ashley.” Local arts specialists Lyndsay McCandless and Suzanne Morlock will discuss–perhaps debate–the intersection of clothing, art, and fashion. A runway show follows.
Abbie Miller/A.M. Renegade : “I’m working with the idea of geometry instead of drape,” she said. “I always like to see how far I can tip everything to the stage of bad proportion or ugliness, and then pull it back to a point where its flattering on the body. I like a play between natural and urban, earth tones and synthetic colors. It has to do with my fascination with cities and my weird romance with construction sites mixed with the experience of living here…” www.abbiesumiller.com
Calla Grimes: “My approach to designing clothing starts really with my own desire to wear easy everyday clothing that features the body’s best assets,” Grimes said. “I love to feel that I am in a wonderful piece of clothing that can be worn day into night, with a very strong element of the feminine. I use linen, linen blends, wool jerseys and fine knits, and silks of every kind.” callajacobson@gmail.com
Owen Ashley/Ashelter: Owen Ashley is a Jackson native and a founding designer for Anomoly Farm. His own label, Orson Ashelter, features functional outdoor-inspired fashion. “You can wear all of it outside and it won’t get ruined,” he said. “If it is meant to keep you warm it will; if it is supposed to keep you cool it will.” Ashley is currently working with shotgun-perforated vinyl faux leather, reclaimed from the Jackson Hole Airport. owen@anomalyfarm.com
www.factorystudios.org. Contact: Abbie Miller, abbgrab@gmail.com or 307-760-5035
•
“The landscape is the tangible connection between man and God. It is a very humbling task—trying to paint the unseen qualities of a landscape as well as what is seen.” – Glenn Dean
Altamira Fine Art presents Bill Schenck, Glenn Dean and Logan Hagege in a new show, Earth & Sky, opening Thursday, June 16, with an artists’ reception from 5-8pm. Works remain on exhibit through June 26.
Schenck is the West’s Roy Lichtenstein. A bold, flattened pop-art style is Schenck’s hallmark. A former Jackson Hole resident, the artist now
lives in Santa Fe, New Mexico. His work reflects his environs and their people. In his early paintings, a sense of ‘makin’ a bit of fun’ of Western cowboys and cowgirls was common. Though Schenck continues to paint in a bright comic book style, a new reverence for indigenous peoples is evident. Native Americans are depicted in softer romantic hues, horses are purple spirits set against vast Southwestern deserts. “His work is characterized by hot colors, surreal juxtapositions and patterning which explore clashes between wilderness and civilization, the individual and community, nature and culture, freedom and restriction,” notes the gallery.
Hagege was born in 1980; he’s a mere 31 years old. A biographical profile describes Logan as being influenced by diverse past masters: Gustav Klimpt, N.C. Wyeth, T.W. Dewing and
Maynard Dixon. In Hagege’s works I see Klimpt’s sensuality of line; N.C. Wyeth’s dramatic, historic compositions; Dewing’s proud, emblematic portraits; and Dixon’s electrifying Southwestern vistas. I can’t help thinking that German painter Hans Holbein (1497-1543), the greatest portraitist of his day, has cast his spirit into Hagege’s paintings.
Dean is a landscapist. Maynard Dixon’s powerful influence reappears in Dean’s glowing Southwest mesas and endless skies. Clouds billow & morph, pulling us toward Heaven. Ranch hands and cowboys are tiny figures passing through great canyons and deserts. Nature is dominant. Western landscape painters of the early 1900′s “…emphasized the importance of seeing the color of light combined with interesting compositions and seemingly effortless designs, while carefully observing the simple and basic characteristics of a specific location,” says the artist. “It still feels like I’m at a magic show when I see work by those artists.”
Magic runs through it; and by “it,” I mean this show. www.altamiraart.com
•
Saturday, June 18, is “Saturday U” day at the National Museum of Wildlife Art. Two presentations to note:
9-10 a.m. — “The Oglala Lakota (Sioux) and the Modernization of American Culture, 1848-1890,” presented by Jeff Means, history assistant professor.
10:15-11:15 a.m. — “Public Art and Community: Building Partnerships through Art,” presented by Susan Moldenhauer, UW Art Museum director and chief curator. Why is public art important, and what can it do for a community? Moldenhauer discusses how the program “Sculpture, A Wyoming Invitational” was created and implemented.
For more details, or to register for college credit or Professional Teaching Standards Board (PTSB) credit, call Susan Thulin, CWC outreach coordinator, (307) 733-7425.
On July 8, Lee Carlman Riddell and Ed Riddell will open a joint show, Joy, at Trio Fine Art.
For Lee and Ed, joy is the thing that, when cultivated, creates a better life. ”A special friend taught us the importance of cheering each other on: remembering a birthday, cooking dinner for friends, attending weddings and graduations and …art openings. Volunteering your time. It is these special things that we can all do that give us satisfaction and a sense of community,” says Lee.
The couple, recently returned from Tuscany, are, according to Lee, “excited to be showing their new work created over the past year.”
Photographer Ed Riddell expects he’ll be showing ten to twenty new photographs, while Lee notes her paintings will include works as large as 18 x 18″, 12 x 30″ and 12 x 24.”
Ed is planning a “surprise” for the public with his new images; Lee will be displaying some new, more expansive landscape paintings. Red barns covered by snowfall, Snake River pelicans, hoary frost cottonwoods, the moon. Tuscany’s landscapes are rendered in field sketches (which can be the most exciting part of any show). Nesting hummingbirds, very difficult to observe, housed themselves outside Lee’s studio—expect to see sketches of tiny, hovering Trochilidae.
Joy’s opening reception takes place 5-8:00 pm; a salon-style conversation with Ed and Lee Riddell happens the same evening, 5-6:00 pm. Contact Lee by phoning either 307.733.8093, x10 or 307.699.0923.
Watch for Lee’s contribution to the 2010 NMWA Western Visions Show. One more accolade: Lee’s work was accepted as part of the juried Yellowstone Art Museum 42nd art Auction.
Visit www.triofineart.com for more information. In addition to Riddell, Trio Fine Art represents Kathryn Mapes Turner and September Vhay…and that painter up in Livingston….what’s his name……..Russell Chatham (humor attempt!). Look for some guest artist appearances this season. Summer gallery hours at Trio are Wed. – Sat., Noon-6pm.
Item #2:
I love it when the nudes come together!
Lyndsay McCandless, Director at newly opened Heather James Fine Art, would like you to come in and see some of her 
favorite things. Marilyn is one of them. Even “hetero” women are in love with Marilyn. Can’t stop looking at her.
“When Hollywood photographer Lawrence Schiller, America’s first paparazzi, got the assignment to photograph Marilyn Monroe on the set of Something’s Got to Give, he thought nothing of it, just another fabulous Hollywood assignment,” says McCandless. “But he, and the world, were unprepared for the moment when Marilyn jumped into the pool in a flesh-colored bikini and came up out of the water au natural. The film crew brought out a birthday cake on that day, June 1, 1962 when she turned 36, and she gleefully sat before the sparkler candles…”
Schiller caught the moment, on a day that turned out to be her last on a movie set. Two months later Monroe would be dead.
McCandless also digs painter Timothy Tompkins’ nebulas; painted on aluminum panels they remind her of ethereal, glorious, galactic worm holes. She notes that the work is inspired by images in modern media and how they relate to art history and the human condition; the works have a transitory effect.
There’s so much more, including an August “Wyeth” extravaganza. Do not miss it. 307.200.6090 gets you Lyndsay.
Item #3:
Shoot, it’s Schenck!
My bad. Missed this item in my “drafts” stack. Here are the facts!
WHAT: Book Signing: “Bill Schenck, Serigraphs 1971-1996”
WHEN: Saturday, July 10th 10 AM to 1 PM
WHERE: Altamira Fine Art, 172 Center Street
WHY: It’s Bill Schenck! (Have you SEEN the magazine layouts of his cool southwestern home?)
STRAIGHT FROM THE GALLERY’S MOUTH: Over the past four decades Bill Schenck’s hard-edge oil paintings examining the realities of modern Western life have ranged from the nostalgic and the surreal to Photorealism and Conceptualism. Yet little attention has been given to the unique serigraphs he created over twenty-five years. Between the early 1970’s and the mid-1990’s, Schenck created fifty-two editions of serigraphs encompassing a variety of themes including fictionalized Western histories, Native American subjects, and depictions of the modern cowboys and cowgirls. These silkscreen prints reveal the serious, the playful, and the critical aspects of his fascination with the West….His Photorealist style lends itself to a contemporary interpretation of the West in a melding of Pop art graphic boldness and Warhol-like mythmaking. To heighten the glamour and drama of his subjects, he pays sharp attention to compositional elements such as setting, viewing angle, light, and color.
email: connect@altamiraart.com